標(biāo)題: Titlebook: Dance’s Duet with the Camera; Motion Pictures Telory D. Arendell,Ruth Barnes Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 [打印本頁(yè)] 作者: FAD 時(shí)間: 2025-3-21 19:34
書目名稱Dance’s Duet with the Camera影響因子(影響力)
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書目名稱Dance’s Duet with the Camera讀者反饋學(xué)科排名
作者: 荒唐 時(shí)間: 2025-3-22 00:05 作者: fastness 時(shí)間: 2025-3-22 03:18
The Feminist Body Reimagined in Two Dimensions: An Exploration of the Intersections Between Dance Fition, treatment and resulting perception of women’s bodies in addition to a historical lack of women in leadership roles. However dance film, a medium that finds its context in the accessible realm of digital media, presents a platform to practice and demonstrate feminist principles in ways that ind作者: micturition 時(shí)間: 2025-3-22 07:50
Hollywood Cinematic Excess: ,’s Direct and Contradictory Address to the Body/Mindral character’s psychosis. However, since the body is not simply an issue in phenomenology and epistemology, but also a theoretical location for debates about power and ideology, feminist psychoanalytic tools investigate the film’s construction of femininity, stereotypes of gender and lesbianism, an作者: Cabg318 時(shí)間: 2025-3-22 09:19 作者: 有害處 時(shí)間: 2025-3-22 16:09
Naked Came I/Eye: Lights, Camera and the Ultimate Spectacle camera and editing allow for greater objectification, and/or a fusion of corporeal and idealized aesthetic orientations with twentieth-century theories of opticality and traditions of Modern Dance. The naked dancing body aligns itself more with Modernity and a poetics of dance rather than coming of作者: 有害處 時(shí)間: 2025-3-22 18:25
Theoretical Duet with moving images discuss their own work in mixed media production, drawing on writings by Philip Sandifer, Walter Benjamin, and Douglas Rosenberg as well as Wim Wenders’s film . (2011). These narratives about process, application—and, in a very real sense, making theory visible—provide an opening作者: 發(fā)出眩目光芒 時(shí)間: 2025-3-22 21:55 作者: 不朽中國(guó) 時(shí)間: 2025-3-23 02:33
Turning Around the Gaze in the Age of Technological Proliferation; or, Things Are Seldom What They Snd interpretations of the work. Using projections can also bring the audience closer to the work, in an emotional as well as a physical sense. In its simplest application, mixed media is capable of showing choreography from multiple perspectives, sometimes representing historical memory, or creating作者: neutral-posture 時(shí)間: 2025-3-23 09:19
Videodance: How Film Enriches the Dance film, or an intersection of framing choices and point of view, has the potential to alienate movement such that the laws of gravity are contested and the manipulation of time either gives the audience an opportunity to watch movement in slow motion or give the image sequence a more narrative feelin作者: 象形文字 時(shí)間: 2025-3-23 12:44
Maya Deren: Leaping Across Frames and Framing Leapshot in her films had a clear choreographic impulse that redefined the camera’s relation to moving bodies on film. She declared herself an Imagist, divorcing her work from more symbolic precedents. Space and time are disordered in her films to disturb the very basis of meaning. This juxtaposition of 作者: 無(wú)表情 時(shí)間: 2025-3-23 16:06 作者: 使入迷 時(shí)間: 2025-3-23 19:29
Moving In(To) 3De filmmakers Marlene Millar and Philip Szporer used stereoscopic 3D techniques and 7.1 Surround Sound as well as archival photographs and sound from the NFB archives to tell the story, adapted from Pite’s internationally lauded stage production. . commemorates the fading legacies of World War I, whi作者: 暫時(shí)中止 時(shí)間: 2025-3-23 23:01 作者: FID 時(shí)間: 2025-3-24 05:07
Daniel Tranel,Thomas J. Grabowski Jr. and camera. A short history of screendance using writings by Sherril Dodds, Erin Brannigan and Douglas Rosenberg establishes the framework for the collection. A brief discussion of the performance piece . (2012) by Nichole Canuso and Lars Jan locates it in the genre of multimodal dance. Five major 作者: 起皺紋 時(shí)間: 2025-3-24 07:50 作者: Graves’-disease 時(shí)間: 2025-3-24 11:27 作者: 臥虎藏龍 時(shí)間: 2025-3-24 14:53
The Radiologic Evaluation of Renal Massesral character’s psychosis. However, since the body is not simply an issue in phenomenology and epistemology, but also a theoretical location for debates about power and ideology, feminist psychoanalytic tools investigate the film’s construction of femininity, stereotypes of gender and lesbianism, an作者: 種子 時(shí)間: 2025-3-24 20:20 作者: 枯萎將要 時(shí)間: 2025-3-24 23:51 作者: SLAG 時(shí)間: 2025-3-25 03:21
Posterior Approach to Cervical Spine with moving images discuss their own work in mixed media production, drawing on writings by Philip Sandifer, Walter Benjamin, and Douglas Rosenberg as well as Wim Wenders’s film . (2011). These narratives about process, application—and, in a very real sense, making theory visible—provide an opening作者: commensurate 時(shí)間: 2025-3-25 10:09 作者: 保守 時(shí)間: 2025-3-25 11:49 作者: 進(jìn)步 時(shí)間: 2025-3-25 19:18
Xi’an Zhang,Yun-tao Lu,Songtao Qi film, or an intersection of framing choices and point of view, has the potential to alienate movement such that the laws of gravity are contested and the manipulation of time either gives the audience an opportunity to watch movement in slow motion or give the image sequence a more narrative feelin作者: CORE 時(shí)間: 2025-3-25 22:00
Basic Research in Craniopharyngiomahot in her films had a clear choreographic impulse that redefined the camera’s relation to moving bodies on film. She declared herself an Imagist, divorcing her work from more symbolic precedents. Space and time are disordered in her films to disturb the very basis of meaning. This juxtaposition of 作者: 贊成你 時(shí)間: 2025-3-26 02:31
Michelle F. Dawson,Alexis Salernot ‘Either the camera will dance, or I will,’ Astaire altered the way dance was filmed. Changes he instituted ensured that the continuity of movement was sustained and gave the film audience a privileged view of the dance that far surpassed that of the audience in a conventional theatre. This essay d作者: hangdog 時(shí)間: 2025-3-26 05:55
Morgan Schellenberg,Kenji Inabae filmmakers Marlene Millar and Philip Szporer used stereoscopic 3D techniques and 7.1 Surround Sound as well as archival photographs and sound from the NFB archives to tell the story, adapted from Pite’s internationally lauded stage production. . commemorates the fading legacies of World War I, whi作者: BOOM 時(shí)間: 2025-3-26 10:41
Shihab Sugeir,Alice Gallo de Moraesr beyond dance technique and video technology to create a work that is both dance and video (or, video and dance). The collaboration between dance and the camera is like a tango: the two mediums, like the dancers, are mutually supportive and full of surprises, incorporating twists and reconfiguratio作者: Commodious 時(shí)間: 2025-3-26 14:12
http://image.papertrans.cn/d/image/260371.jpg作者: maculated 時(shí)間: 2025-3-26 20:32
https://doi.org/10.1057/978-1-137-59610-9performance; camera; film; screen; movement; media; contemporary; technology; identity; videodance; site-speci作者: 下級(jí) 時(shí)間: 2025-3-26 22:39
978-1-349-95551-0The Editor(s) (if applicable) and The Author(s) 2016作者: Breach 時(shí)間: 2025-3-27 01:14
Introduction: Dance and Film as Siblings,llection. A brief discussion of the performance piece . (2012) by Nichole Canuso and Lars Jan locates it in the genre of multimodal dance. Five major sections of the collection cover site connections, the role of movement, the dialog with theory, the relationship with film, and the emergence of 3D.作者: 搏斗 時(shí)間: 2025-3-27 06:57
Theoretical Duets well as Wim Wenders’s film . (2011). These narratives about process, application—and, in a very real sense, making theory visible—provide an opening and a lens for us to view and understand the working and workings of creating a mixed media performance piece.作者: 尊嚴(yán) 時(shí)間: 2025-3-27 12:54
Wrestling the Beast… and Not Getting Too Much Blood on Your Skirt: Integration of Live Performance anherent when integrating the two mediums. The challenge of choreographing multiple mediums draws on dance and film theory, including the media theories of Marshall McLuhan. The elements divide into three categories: focus, timing, and content.作者: mechanical 時(shí)間: 2025-3-27 16:16 作者: 我不明白 時(shí)間: 2025-3-27 20:46 作者: gospel 時(shí)間: 2025-3-28 01:07
Atlas of Crabs of the Persian Gulff as a display of narcissism, exhibitionism, or soft porn. The choices made in video self-portraiture re-claim the gaze as the creator’s own and guard him against accusations that he is merely making a spectacle of himself. Or is the point to make a spectacle of the body? Indeed, what IS spectacle and its relationship to the artist/creator’s body?作者: linguistics 時(shí)間: 2025-3-28 03:43
Xi’an Zhang,Yun-tao Lu,Songtao Qig. Kassel explains various techniques used in dance film to give moving bodies a different look: duplications, change of size, mirroring or reproduction, fragmentation, and visualization of energy patterns all make these film versions of the dancing body ones that cannot exist without editing the motion.作者: licence 時(shí)間: 2025-3-28 10:07
Basic Research in Craniopharyngiomaincongruent images multiplies meaning in a dreamscape fashion. Deren’s camerawork caresses the bodies and landscapes it touches on, allowing her camera lens to serve as a mechanism for the unconscious. Her films were truly cinedances or choreocinematic endeavors in which the dance and the camera collaborated as equal partners.作者: thwart 時(shí)間: 2025-3-28 12:29
Michelle F. Dawson,Alexis Salernoiscusses the uneasy relationship of film, movement, and dance; then contrasts prevailing film techniques with Astaire’s innovations. Solo dances from three films (., 1935; ., 1948; and ., 1957) are discussed in detail to identify key elements of Astaire’s artistry as it evolved.作者: MELON 時(shí)間: 2025-3-28 16:35
Morgan Schellenberg,Kenji Inabale also creating a moving homage to Pite’s mentors and contemporaries, whose lives and short careers are pitted against the fleeting nature of the dance art form. Combining the raw physicality of athletic power with Theodore Ushev’s hauntingly distinct artwork, the film resonates with the universal themes of conflict, loss, and rescue.作者: 通便 時(shí)間: 2025-3-28 21:52 作者: pester 時(shí)間: 2025-3-29 02:20
Coma and Intensive Care Neurology,techniques, processes, and current productions, this essay argues that a feature that helped define both forms—a turning away from the proscenium arch and a turning towards alternative contexts—continues to connect them.作者: 以煙熏消毒 時(shí)間: 2025-3-29 06:27
The Radiologic Evaluation of Renal Masses they do work together in investigating the complexities of representation and (embodied) identification within a Hollywood dance film revealing the deeply embedded contradictions that make it impossible to fully yield the progressive potential that can be read into it.作者: Antecedent 時(shí)間: 2025-3-29 11:13
https://doi.org/10.1007/978-981-13-7322-0ve performers can appear out of the projections or disappear into them. Discussion of the gaze and the notion of absence and presence brings a variety of theorists into play, including Walter Benjamin, Douglas Rosenberg, and John Berger.作者: podiatrist 時(shí)間: 2025-3-29 12:57
Location, Location, Location: Dance Film and Site-Specific Dancetechniques, processes, and current productions, this essay argues that a feature that helped define both forms—a turning away from the proscenium arch and a turning towards alternative contexts—continues to connect them.作者: 碎石頭 時(shí)間: 2025-3-29 17:53 作者: Commentary 時(shí)間: 2025-3-29 21:22 作者: 蒙太奇 時(shí)間: 2025-3-30 01:31 作者: Obliterate 時(shí)間: 2025-3-30 04:40 作者: RODE 時(shí)間: 2025-3-30 10:53
Daniel Tranel,Thomas J. Grabowski Jr.llection. A brief discussion of the performance piece . (2012) by Nichole Canuso and Lars Jan locates it in the genre of multimodal dance. Five major sections of the collection cover site connections, the role of movement, the dialog with theory, the relationship with film, and the emergence of 3D.作者: Enliven 時(shí)間: 2025-3-30 14:49 作者: exceptional 時(shí)間: 2025-3-30 16:55
Complications of Cervical Spine Surgerynherent when integrating the two mediums. The challenge of choreographing multiple mediums draws on dance and film theory, including the media theories of Marshall McLuhan. The elements divide into three categories: focus, timing, and content.作者: Adrenaline 時(shí)間: 2025-3-30 21:52 作者: Explicate 時(shí)間: 2025-3-31 01:13
Lo?e Fuller and the Poetics of Light, Colour, and Rhythm: Some Thoughts on the Making of ,the aesthetic process of the author’s film. Particular focus is accorded to the interplay of the visible and the invisible, and the presence and the absence of author/subject, which are explored in connection to the destabilizing aesthetic techniques of Fuller and Mallarmé.作者: euphoria 時(shí)間: 2025-3-31 05:35
Naked Came I/Eye: Lights, Camera and the Ultimate Spectaclef as a display of narcissism, exhibitionism, or soft porn. The choices made in video self-portraiture re-claim the gaze as the creator’s own and guard him against accusations that he is merely making a spectacle of himself. Or is the point to make a spectacle of the body? Indeed, what IS spectacle and its relationship to the artist/creator’s body?
